Opera streaming: perceived value as an explanatory factor for loyalty and intention to attend an opera in an opera house

We tested our hypotheses with a questionnaire. This questionnaire was administered electronically, in three languages (French, English and German), to viewers of two major opera streaming platforms: Staatsoperlive.comFootnote2 and Operavision.Footnote3 Staatsoperlive.com was the paid streaming service offered by the Vienna State Opera, launched in 2013. It broadcasted 50 live operas in HD every season, which made it the virtual opera house with the largest repertoire in the world. The platform also offered a video library of some 30 operas and its content was reviewed every month. The number of viewers for a live streamed performance was equivalent to a capacity audience at the Vienna State Opera. Viewers could access the service through a subscription or packages. They could also buy single live performances or videos on demand. Operavision is the digital platform of the European opera association, Opera Europa. It is the major stakeholder of free opera streaming. It broadcasts operas – mostly live – from its more than 25 partner opera houses, on its website and on YouTube. More than 40 operas per season are available for replay for several weeks or months. During a live broadcast, Operavision viewers can interact by taking part in a chat available on YouTube.
The links to the questionnaires were sent in the newsletters of both institutions. 213 responses were collected (153 for Staatsoperlive.com and 60 for Operavision). 60% of the surveyed people are men. The respondents are usually older and predominantly highly educated, as it is the case of the 'in-situ' opera audience (Agid & Tarondeau, Citation2010). 62% are over 60 years of age and 58% of them hold at least a bachelor's degree, while only 8% did not complete secondary education. Besides, more than half of the sample (56%) have taken music or singing lessons. On another level, a substantial majority of the respondents, three quarters of which watched the streamed performance alone, enjoy opera frequently; like the spectators of Live HD operas in cinemas as Villanueva Benito and Lacasa-Mas (Citation2017) detected and analysed. In all of the channels we considered, almost three quarters of respondents (73%) enjoy watching at least one opera per month and half of them enjoy more than 20 operas per year. The surveyed viewers are regular streamed opera patrons, since 60% of them watch an opera at least every two months. They are also mostly opera houses customers (92%): more than half of the sample (54%) attends more than 5 operas in a theatre each year

本研究通过问卷调查检验了研究假设。本次问卷采用电子形式发放，涵盖法语、英语、德语三种语言，面向两大主流歌剧流媒体平台——Staatsoperlive.com[注2]与Operavision[注3]的用户发放。
Staatsoperlive.com是维也纳国家歌剧院推出的付费流媒体服务，于2013年上线。该平台每季度以高清（HD）形式直播50部歌剧，是全球曲库规模最大的虚拟歌剧院。平台同时设有约30部歌剧的视频馆藏，内容每月接受审核更新。单场直播歌剧的观看人数可达维也纳国家歌剧院的满场观众容量。用户可通过订阅套餐获取服务，亦可单独购买直播演出或点播视频。
Operavision是欧洲歌剧协会（Opera Europa）的数字平台，是免费歌剧流媒体领域的主要运营主体。该平台通过官网与YouTube直播来自25家以上合作歌剧院的歌剧演出，其中多数为现场直播。每季度可提供回放的歌剧作品超过40部，回放周期可达数周至数月不等。直播期间，Operavision的用户可通过YouTube平台内置的聊天功能参与互动。
问卷链接通过两家机构的官方通讯邮件发送，最终回收有效问卷213份（其中Staatsoperlive.com用户153份，Operavision用户60份）。受访者中60%为男性。与"现场"歌剧观众群体特征一致（Agid & Tarondeau, 2010），本次受访者普遍年龄偏高且受教育程度较高：62%的受访者年龄超过60岁，58%的受访者至少拥有学士学位，仅8%未完成中等教育。此外，超半数受访样本（56%）曾接受过音乐或声乐课程培训。
进一步来看，绝大多数受访者（占比四分之三）会独自观看流媒体歌剧演出，且歌剧观赏频率较高——这与Villanueva Benito与Lacasa-Mas（2017）针对影院高清直播歌剧观众的研究发现与分析结果一致。在所有受访渠道中，近四分之三的受访者（73%）每月至少观看1部歌剧，其中半数受访者每年观赏歌剧超过20部。本次受访用户均为歌剧流媒体的常客：60%的受访者至少每两个月观看1部歌剧。同时，绝大多数受访者也是线下歌剧院的常客（92%），其中超半数样本（54%）每年前往剧院观看歌剧超过5场。